Animation: Developmental vs. Experimental

Configuration vs. Abstraction
I think when we hear animation or cartoon, our first thoughts are geared towards configuration. We are drawn to it as kids. We don't want to watch abstract movements; instead we like the movements of characters that entertain us. Especially being able to watch animals that can only come alive (humanistically) in our imaginations take to life on the screen. Sure abstraction may be tougher and more aesthetically pleasing, but it is not a mainstream entertainment like the animation of Warner Brothers or Disney.

Specific Continuity vs. Specific Non-continuity
I think this is an interesting difference between the two animation styles. Experimental animation has no reason to contain any kind of continuity except that of non-continuity. It's almost as if we expect experimental animation to be nothing but non-continuous simply because it is the opposite of developmental animation. While I understand the reasoning, I think experimental animation takes thought and choice. That thought and decision making is the continuous element that may not form a story, but still holds meaning. I believe he touches on that.

Narrative vs. Interpretive
Many times I think this is thought of as a key difference between the two forms of animation. Developmental is seen predominantly as a form of entertainment. Experimental is seen more as an art form. I think this also ties in closely to the "Absence of Artist vs. Presence of Artist" point. The artistry is often forgotten when animation presents a narrative. However, many times experimental film calls attention to the presence of the artist. It could be sloppy or carry a particular signature of a filmmaker. Typically these narratives try to cover up that they are in fact manufactured.

Also the article mentions Duck Amuck which was actually one of my favorite cartoons back in the day. I figured I'd post that since it defies many of the conventions of developmental animation.

6x1 Thus Far

I figure talking about each thing we've done individually is the best way to express my likes and dislikes.

Scratching: I enjoy doing this. I tend to start to attempt to animate with my scratching. It's just what I drift toward naturally. I enjoy the freedom of the scratching. Essentially that I get to dismantle perfectly good film until I see fit. Really the only boundaries to this are what you limit yourself to. Anything can be a scratching tool. Just some things look better than others. I found that the sand paper was not to my liking, but a nail offered me precision more than the thumb tack. Though one perk I found of the thumb tack was being able to punch small holes in the film, another great technique for simple animations.

Animating: The animation portion of the project is the one I think about the most. The one that I plan the most. I find the precision of animation to be infatuating. I like that I create the motion. Not just random motion either. Motion that is calculated and timed. I've always been interested in this. Even in ninth grade biology. We were assigned to make a flip book of mitosis (cell reproduction) and I spent hours making the perfect motion. I view this as a big mitosis project.

Magazine Transfers: Easily my favorite thing we've done. This is so unique. Really I'm not sure how this was conceived, but I really enjoyed the process. Arranging the layers and seeing how things turn out on the screen was a lot of fun. Much like with the film scratching, I try to get very precise and start to animate. I have to constantly remind myself that this small strip will be on the screen for a fraction of a second. Still, knowing exactly what I put on my strip even when I see it for that split second is rewarding.

Inks & Oils: This is tough for me to enjoy because it lacks the precision of a pen or scratch. It seems aimless and I prefer to have greater control over my work. I'm sure there are ways to control the inks, but I haven't discovered them. Again, this is most certainly a personal preference. Maybe I will enjoy it once I begin to master it. Or maybe there is no mastering it and what I've experienced thus far is precisely what inks and oils are all about. Hopefully I can discover what it is that sets this form of filmmaking apart and make something I feel is unique and fulfilling.

Rayograms: I enjoyed doing this, but not quite as much as the magazine transfers. I thought it was involved for what we produced. Much like with the inks/oils, I'm confident that much can made from this technique. We just can't fully explore the depths of rayograms in a single week, on a 6 foot film strip. After doing it once though, I see little objects and think "That would make an interesting rayogram." Hopefully I can explore this technique a little more.

Brakhage

After reading the first few pages of the Brakhage assignment, it felt as if I were talking to Stan himself. It seems like Brakhage sat down at a desk and wrote exactly what he was thinking, in no particular order. And seemingly with no direction. Sure he communicates a lot of information, but in a mode by which you almost feel like you're not being taught. Rather just talked to. While his "humor" added to this sense of conversation, I think the run-on sentences and simple instruction made these few pages easily readable.

I thought one of the most interesting portions of the reading was when he essentially poked fun at his own career. He referenced the lack of an audience for the films he makes, but encouraged the readers to not hesitate to follow their dreams. Interesting and conflicting points. He also jokes about how few people attended a screening of a Kenneth Anger film. This got me thinking about how discouraging it must be to devote your life to this medium and have a handful of people appreciate your work in your lifetime. Obviously it is quite the contrary now. Many people see Brakhage's films and films like them as necessary means to the film industry as it exists today. Even Martin Scorsese says he is indebted to filmmakers such as these for their trailblazing.

His introduction of animation was also very entertaining. Essentially comparing film animation to that of a flip book was humorous, but spot on. I had quite a few flip books as a kid, and I was always enthralled with the simple motion. So when I almost think of Brakhage as a big kid imagining these intricate flip books and putting them on film.